EDITOR REMEMBERS... Issue
36 Dec 1988 - Jan 1989
36 is another issue which seems a bit on the skinny size
compared with today (just 16 pages), but then it was the third
issue within twelve months. As it was due out during the festive
season, we featured a 1968 vintage USA Xmas concert advert on
the front cover: "A splendid time is guaranteed for all" indeed!
The live album Nobody's Perfect had emerged at last, back in
June, but few were getting too excited about it, though the
band did dress up in medieval costumes for the launch party,
perhaps giving Blackmore the idea for his solo project nearly
ten years later. The magazine carried reviews along with four
more pages of new or rare vinyl, including quite a bit of bootleg
vinyl. There was much speculation as to the sources of the live
album, something which has never fully resolved itself.
the group seemed to have forgotten about the UK - again - we
jumped on a boat to catch a couple of the German shows (the
trip back was less easy as I scored a roll of tour posters off
the promoter and dragged them back on the ferry with us!), and
found the group looking and sounding much better than they had
in ages. The set was still lacklustre in terms of material,
but they were really thumping it out, especially at the Bremen
show. But was it a bit too late? Split rumours had already began
to surface - one reason we made the trip to be honest - but
on the other hand some of the band were already keen to get
back into the studio and begin the new album, while yet more
stories hinted at a Blackmore / Turner meeting which heralded
- well, we now know the answer, but at the time we could only
trek to Germany was also tempered by Ann being made redundant
a week before we went, while my spell freelancing at the printers
was also beginning to come to an end. Things had got to a stage
where I could no longer rely on them to print the magazine on
time (the printing plates were sat around for weeks sometimes,
causing immense frustration) so we took this issue elsewhere
to speed things up, but it inevitably cost more. Away from the
new live album, I was helping to organise the official release
of the 1970 Stockholm gig as Scandinavian Nights on the Connoisseur
label, the start of a positive relationship in many ways. We
weren't able to have quite such a hands on with this one as
with later projects, so the front cover left something to be
desired, but musically it was sounding promising. We were also
involved - to a lesser degree - in the Bolin box set which was
being prepared Stateside.
meanwhile ignored the band's twentieth anniversary altogether,
though we'd mocked up a great looking special vinyl edition
of Shades for them. I had to content ourselves with a feature
on the album in the mag instead but it wasn't all bad news as
EMI were now starting to look for ideas for the CD format, and
we began to put some projects together which were eventually
to benefit Deep Purple fans tremendously, and which were the
beginnings of the healthy archive scene we see today. Another
first for us between magazines was attending a Deep Purple convention
- in deepest Poland. I still have vivid memories of the communist
checkpoints and border security on the way in and out, but it
was a fascinating visit, although very sobering in many ways.
I've never had a huge yearning to travel much, but being a Deep
Purple fan was a good excuse to try and shake off my isolationism!
36: DIGEST & INDEX
REVIEW : Hush (single)
REVIEW : Nobody's Perfect (album)
: Nobody's Perfect Album & Tour
REVIEW : Bremen
: The Ultimate Compilation
: Back To The Recording Studio
: John Norum
- Single Review
PURPLE, Hush / Dead Or Alive - Bad Attitude (both live) Polydor
887 636 : June 1988 : UK
as a coloured vinyl 7" (POC 4), a gatefold 12" or CD Single.
Curious that they should baulk at the idea of issuing a triple
album yet be quite happy to make people cough up for tracks
which will be on the LP anyway; the cost of the 12" is probably
more than the differencei between a double and a triple LP.
In 1969 a live jam produced stuff like 'Child In Time'. Even
in 1984 a live jam turned into 'Son Of Alerik', come 1988 it
results in nothing more than a patchy rework of an old studio
track. Indeed there isn't much in the way of spontaneity here
at all once lan Gillan's vocals are taken away. Ho real sense
of fun either. Maybe if the song had gone on perhaps just a
little longer than the original I would have responded. As a
bit of fun on a b-side nobody would have minded much but hyping
this up as an a-side is ridiculous especially as it's on the
LP anyway. Initial reactions to the live tracks? Rather sterile
sound but energetic performances. Too fast maybe, with Glllan
unable to catch his breath. Both tracks feature great endings.
Why? Primarily suspect because they're the only time the band
deviate from the album cuts. It doesn't bode well.
Perfect - Album Review
the old stuff around for a second tour struck me as a dumb move
last year and I think the album supports this. To some extent
Ian Gillan's contention that it's impossible to capture the
feeling of a live show on a piece of vinyl is correct, but you
can get close, or at least closer than Nobody's Perfect would
sound is very clear, but the rather ham-fisted way the sound
is suddenly faded in places to allow someone to be heard soloing
is off putting, Blackmore's guitar in 'Highway Star' for example.
Curiously it's only on 'Smoke On The Water' that the sound seems
to achieve the correct balance, rough enough to be exciting,
clear enough to hear what's going on.
have been edited, usually by picking short versions, which is
a shame - we might have been able to hear Blackmore's blitz
in 'Space Truckin' for once. Lordy's solo spot is faded in at
the start of one side, sounding out of context as a result.
Another minus is the truncated 'Black Night', surely one of
the most enjoyable bits of the 87 live show. A
lot of the older material is only average and the new stuff
sounds at times uninspired .'Hard Loving Woman' is a real mess
barring a nice guitar solo.
Nobody's Perfect Live Album & Tour - News
The live set was announced in one mag as 'Highway Stars' but
the more enigmatic title 'Nobody's Perfect' was the final choice.
Ian Gillan was keen on 'Deep Purple Forever' but got outvoted.
The album was assembled from tapes made of every show on the
1987 tour from East Troy onwards (19 shows in all). some of
these were incomplete as they only used one tape machine initially.
In the end just three shows were sourced, along with a section
of 'Black Night' from a fourth gig. 'Dead Or Alive' on the single
also came from another show.
'Hush' turned up from jams in February 1988, Blackmore says
they also did 'Black Night' but it didn't work out very well.
A video for 'Hush' was assembled, but the band only appear via
some old footage from the Providence 1985 show.
Glover has confirmed that a UK tour of smaller venues had been
on the cards in 1987, but Gillan's sudden tax exile status had
scuppered them. For the 1988 tour, confusion reigned. A large
American tour was lined up to take in some two dozen shows,
kicking off at the end of July in Saratoga. Dates were included
in ads for the live album, however by August most had been cancelled,
with speculation this was down to less than wonderful ticket
sales. This left just three 'festivals', though in the end two
of those (Springfield and Providence) were also cancelled, leaving
just Giants Stadiun, East Rutherford intact. To add to the ignominy
Aerosmith were given the headlining status. While press reviews
of the gig were supportive, people probably better informed
say the band were looking rough.
Europe the Italian and German dates survived, plus one in Denmark
slipped in at very late notice. A gig in Spain on October 5th
was pulled, reportedly at just 24 hours notice.
Bremen. September 19th 1988 - Live Review
modern 7,000 seater hall, far from sold out. One half of the
side seating was screened off altogether. The gig lacked some
of the informal instrumental ad libbing which had made the previous
show Hamburg enjoyable, but on the other hand they came out
and went into full power from the very start. Highway Star,
Strange Kind Of Woman and Dead Or Alive were electric, followed
by an atmospheric Perfect Strangers. Black Night is back in
the middle of the set, done more or less straight, and followed
by Child In Time. lan sounded in very good shape. Ditching his
gold lame suit for a pink t-shirt, he gave it everything. Ritchle
didn't spark in quite the way he'd done the previous night and
as the set progressed it was clear he found the audience too
was taken minus any trickery, though a neat solo from Paicey
livened it up. Beethoven's Ninth was less drawn out than before,
followed by a short keyboard solo. Into Knocking At Your Back
Door and as before a verse of Space Truckin' to close the set.
Encore time, well yes and no. Instead of Woman From Tokyo Ritchle
blasted out the old Smoke On The Water riff and it was clear
that was all we were going to get. lan Gillan walked purposefully
across to Blackmore, had a few words and then belted into the
song. It was a decent performance too, nice lighting and dry
ice adding to the atmosphere. Suddenly the old strat went up
into the air, whammed down onto the monitors, the pieces hurled
to the crowd; blink and you'd missed it.
back to the top
Ultimate - News
we approach the twelfth anniversary of Tommy's death, it's pleasing
to be able to announce a forthcoming release that should at
least introduce the man to a new generation of admirers. As
you probably know when Tommy died there were hours of tapes
left behind, often poorly or inadequately labelled. Rumours
about them being sold abounded, but it now seems clear that
the collection has remained intact. Our
point of contact has been Willy Dixon, who threw himself into
the project. Via a contact at Elektra records, who then moved
on to Geffen, Willy found someone who was interested in providing
the necessary support and backing. (Coincidentally when the
contact moved companies, his replacement at Elektra was none
other than Jeff Cook, who as you know co-wrote with Tommy over
a long period.)
end results of this effort are close to release, with the final
contract being finished in July of this year. The aim is to
bring Tommy to the attention of new fans and to give older fans
a decent compilation. The sleeve is being done now, and will
Incorporate some 75 photographs ranging from Tommy playing his
ukelale as a child onwards. I was very humbled when they wanted
to use my Kerrang article from many moons ago as the basis for
the liner notes, apparently at the request of Tommy's family.
to the top
To The Recording Studio - News
Me All Your Love was taken off as the fourth and final American
single from the 1987 LP in March 1988, remixed, and with Vivian
Campbell adding new guitar parts. The live video which accompanied
it was shot in Worcester Mass. With that out of the way, and
the touring over, thoughts naturally turned towards the fairly
daunting task of beginning a follow up to the incredibly successful
album. The stage line-up by then bad been working so well in
Coverdale's opinion that he had decided to go into the studio
with it after all, the next album being scheduled for March
/ April 1989. After the success of the re-recorded oldies, they
are seriously considering redoing Fool For Your Loving and Ain't
Gonna Cry No More , as well as Burning Heart from Vandenburg's
currently fashionable chart cert of teaming two known stars
to record a duet was also mooted. A track called Too Many Tears,
considered too quiet for the band, may be taped by Coverdale
with Nancy Wllson from Heart (remember he nicked their rhythm
section for Here I Go Again 87) or Cher. Thoughts
of a live set have been put on hold for now, they're not looked
upon with any great favour by American record companies, but
the reissue of most of the Whitesnake back-catalogue in America
has been doing well - enabling Coverdale to perhaps dig a little
further back for stage material next tour; this one being assembled
from what was perceived as the only two known LPs in America.
Hughes - News
promising prospect of Glenn teaming up with John Norum reported
last issue had fallen through even before we'd printed the magazine.
Hughes was asked to leave Norum's band because while everyone
thought he'd got his habits under control, this wasn't in fact
the case. So he left on June 25th. Since then there have been
loads of stories flying about, that he may team up with Mel
Galley once more reforming Trapeze etc. What seems to be happening
is that Norum will tour to promote his Total Control album and
then once that's over the pair may finally team up properly.
Indeed Glenn is scheduled to return to Sweden in January to
finish the album the pair began this year, so it may all work
out nicely in the end.
to the top
in the magazine...
Purple 1988 European tour reviews...Nobody's Perfect reviews....Shades
Of Deep Purple retrospective...Deep Purple & family on CD article...Deep
Purple, Whitesnake & Rainbow bootleg reviews...
Whitesnake Illustrated Biography news....Video news....
the magazine can
be purchased from the dpas
2003 DPAS/Darker Than Blue.
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